By tracing the origins of printmaking in Europe between the ffteenth and seventeenth centuries, this article explores the self-refexive possibilities of the médium, whose reproductive abilities redefne Western art in a number of ways. It establishes a comparison between the phenomenon of replication in both prints and paintings, in connection to the Renaissance notion of artistic identity and signatures, which may be understood as an extensión of the artist’s persona. Similarly, it analyzes the ways in which prints question the relationship between origináis and copies, both historically and in terms of our current understanding of reproductions, while probing concepts such as invention and imitation, as well as the artist’s hand. Using this background information, an interpretation of a specifc engraving, the Nymph of Fontainebleau, is proposed. Attributed to Pierre Milán and René Boyvin, this work may be read as an artistic declaration about print’s ability to recréate other visual media, and to extend itself both in space and time.